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It’s a little less angled than normal, but it’s the best-sounding and best-playing guitar I’ve ever used. I talked with Gibson several years ago about doing a signature model with the same specs.

Thankfully, tech Steven Alexander broke down the complicated signal path…

With this blog post I just want to make you aware of a possible sound loss due to a wrong setup.

With the vintage Fender design the saddle would simply tilt a bit to the side of the shorter screw which is probably not ideal either but will hardly affect the tone.

The higher block saddles however can be jammed between their neighbour saddles and cannot tilt easily to one side for this reason.

This affects all Strat or Tele bridges with the ‘block’ saddles instead of the bent steel pieces of the vintage Fender design, like the American Standard bridge, or vintage Schecter bridges and consequently also the Dream Machine Tremolo and Tele bridges.

I found that you need to make sure that both of the Allen screws used for the height adjustment have firm contact to the bridge base plate. Otherwise it is possible that one of them has no direct contact to the bridge plate at all; the bridge saddle will stand on one screw only then.

A similar cinnaburst guitar got broken, and I kept that headstock and tried to marry the two.

It got put back on, but at sort of the wrong angle—because, of course, the wood type didn’t match.

Friedman reworked the preamp section to sound and react similarly to a 60-watt Naylor head that Billy loved.

To help reduce unwanted noises and annoying buzzing, Billy started using Custom Audio Electronics isolation transformers.

Back for his second Rig Rundown is bassist Matt Mc Junkins (check out our Eagles of Death Metal episode where Matt shows off some different gear.) who is still favoring Fender P basses.

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